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I was waiting for the realization to set in... hahaha. As far as film, I've been trying to keep it was cheap as possible... so a lot of B&W. Mostly Agfa APX100, some Kodak TMax and I just bought some cheap Kentmere which supposedly Ilford owns... so I'm excited about that. Color film is becoming really hard to find. I've shot some Kodak Gold, Fuji 200 and some Kodak Pro Image 100. Like I said, I'm trying to keep this new hobby as cheap as possible.

Heck those lenses are not going to work on e 35mm film camera, my bad.

Oh yes it's miles better - the highlight roll-off alone is enough to keep it - except that because it's so big and heavy (esp with my Tokina 28-70 2.6 on) that it hasn't left its bag for the last 3 months or so. When I'm out it's nearly always with children and the dog, stopping to shop etc. and it's just too unweildy for that kind of use. The number of times I actually get to go out alone with a camera each year can be counted on one hand. So it's going - but yes, I sure will miss those highlights!

Quick question(s)... I recently picked up a Canon Rebel G SLR and it has a plastic mount. The camera came with a 35-80mm iii which actually seems okay, but I was going to pick up a 24-85mm or a 28-105mm II and I wanted to know if anyone knew how strong the plastic mount is? Also are there any other early EF lenses that are sleepers? I prefer older manual SLRs but I must say this little Rebel G is a blast to shoot with. The AF is near silent and fast. It's light and really ergonomic. I figure I'll eventually pick up a nifty fifty, I believe the II version has a plastic mount as well, but with this camera, I kinda enjoyed using the zoom. Thanks

The Evf is pretty sweet too. S1H still out of reach for me moneywise. Had almost gotten one with Smallrig cage and handle, three og batteries, Sigma adapter, all for 2200 eur. But then i figured my S1 should be plenty. Still using it without a cage and with one battery only, because i feel too stingy to invest in the camera.

I don't like it either! Especially when doing long interviews 😞 I definitely thought I noticed a difference between the GH5 and S series cameras. But, forgetting about noise, high ISO performance and recovering from bad exposure and concentrating only on the "organic" versus "artificial" continuum I don't see a difference between the GH5 and GH6 set at the same exposure when examining single frame. Here are some examples. Both cameras are ISO 400 V-Log and have been colour and exposure matched. GH5 is first, then GH6 in each pair: That's what I mean about the image being essentially identical for my purposes. Maybe the detail is slightly finer and less coarse in the GH6?? Of course, this comparison ignores temporal characteristics (maybe the noise pattern is nicer on the GH6?) as well as the extra dynamic range in DR boost which will differentiate it from the GH5, as well as the VLog colour being a nicer starting point on the GH6 if you're just going to use Panasonic's luts. That is a very good point!

Nikon's compressed NEF stills (from the D2X era onwards) are indeed visually lossless (the highlights have high SNR but also high shot noise and they simply drop out some of the least significant bits which are covered by the shot noise in the highlights and that's how they achieved visually lossless compression) but the Nikon compression (of the D2X era) only reduces the file size by a small amount; the compression ratio is not as high as in the Red or the Intopix compression algorithms (the latter being used in the Z9). It is extremely difficult to see any difference between the D2X era (visually lossless) compressed and lossless compressed NEFs (and you'd need to do very aggressive curves adjustment to see any difference at all). But the difference in file size between the two formats is small. Red's approach could be considered to be an advancement in the state of the art by providing a higher degree of visually lossless compression than Nikon's. But Intopix's algorithm used in the Z9 also provides high compression ratios and was awared a patent. It is used by the Z9 for both stills and video. One could argue that since raw video is a trivial extension of raw stills at sufficiently high fps (24 or higher) and Nikon are simply using (visually lossless) compression on each frame (as they did in their still cameras since at least since the D2X) the use of such a method to record a raw video is a trivial extension of what Nikon did in the past, only this time with higher resolution and higher frame rate. The compression algorithm itself that is used by the Z9 for high efficiency raw stills and raw video is documented in Intopix's patent. Since it was awarded a patent it clearly includes a new inventive step. RED seem to claim in their lawsuit that Nikon are using RED's technology and not someone else's. Interesting. The patent system was created to foster innovation and to allow the rising of sufficient funding for research and development of new useful things. Here it is used by one company to try to block competition which is offering a superior product (in some ways, i.e. autofocus) at a 90% lower price (maybe more) from entering the market (which is not really the same market as the Z9 is mainly a still camera with some video capabilities and most of its purchasers are likely mainly using it for still photography simply because Nikon isn't a prominent video let alone cinema brand). If RED prevail then this is an example of the patent system damaging the American customers' opportunities to purchase competitive gear and not in any way fostering innovation. Perhaps the customers can just purchase their Z9's from overseas in the future.

I consider it on average at least once per week. Sometimes, several times a day… And as someone already exclusively L Mount, maybe I should just scratch that itch and be done with it. Original FP. The L is more stills orientated and has one too many issues for me, being e shutter only. But the OG FP… Cine DNG. I’d like to try it. The lack of a tilt screen? Two options: A. DIY the available aftermarket screen. B. Ninja V or similar, used to tilted backwards like a massive tilt screen. Stab? Has electronic I think and being an owner of the Panny 24-105 f4 with OIS, that’s another option. Or, I have the Fotodiox EF to L Mount adapter with build in VND. Whack any one of the EF Mount Tamron f1.8 primes which have VC, Tamron’s terminology for lens stab. Only thing that still bothers me is a lack of 4K 50/60p which I use a lot. I think if it had the latter, it would have tipped me over the edge a long time back, but still considering as I have other full frame option that do…

I think it is a wonderful video. Just goes to show sometimes less is better in video.

Every shot taken is better than every shot not taken. This is really the strength of cameras the size of the GX85. Plus, not only is it small, it's got IBIS and half-decent 4K. Not that common in something so small.

This post says that the 28–80 f/3.5–5.6 USM is great and has a metal mount (or the first version has anyway). There's a couple of other lenses they liked too.

Nice! I saw those articles with it on Halo and that's the perfect use-case for it in high-end productions. Hopefully word spreads and Sigma starts to get a presence in that niche. For me it's the image and the dynamic range that is just soooo tempting despite being a poor fit for my use-case (hand-held travel style in purely available light). I'm still actively looking at their firmware updates, hoping that they'll drop some more goodies in there. Otherwise maybe an FP mk2 will come and deliver some of the holes in the mk1. If it had Prores, a tilting screen and some kind of stabilised options for standard focal lengths (other than the 24-104/4) then the sheer image quality would get me to swap brands and sensor sizes, not an easy feat considering I can see 5 MFT cameras from where I'm sitting, plus a tray-full of lenses!

That's good. Would be dull if there was only one taste. @MrSMW I liked the lush colors while still providing subtle hues and the choice of grading in harsh light to go a bit over board with the highlights. Everything has a plasticity and physicality to it. But that is just what makes it sing to me. I love the look, the color palette and how colors still stay intact within this demanding grade. It reminds me of one of my favorite GH1 videos:

I use MPB quite a lot, given that they're in my town (I've even sent a taxi round to pick stuff up in the past!) but I want to get as much cash as possible so going the eBay route this time. My replacement for the S1, which I love, but don't use nearly enough to justify keeping it, is a humble GX85. I'm not a pro, by any means, and that camera has so far been a revelation in that for the kind of things I currently shoot it gives me about 90% of what I need. I've got a music video coming up and if the colourist is happy with 8 bit Cine D I'll even use it for that paired with my Super Takumars. If not I may pick up a G9 or rent something. I've got to say, when I got the S1. out to photograph it for the listing I nearly decided against the whole exercise. It's such a beautifully put-together camera. But it won't be my last high end camera - I'm just taking a break!

We’ll after some internet research, and several lost auctions, just won an auction for a Weebil S. Will give this one a go and see how I like it.

I think it depends on the specific job and the market/budget. Most wedding/event videographers that I personally know, do work alone. Not necessarily because they want to because of course, an assistant at least, never mind a second shooter would be welcome, but 9/10, you'd just price yourself out of the job and have no business. I don't shoot anything more than weddings really. From time to time, something else, but really, just weddings and do so fully hybrid and I have to manage; 4 principle cameras, 1 back up camera/angle, drone, 6 audio devices, sometimes lighting and with 3 tripods at certain key times. Would I like a second shooter? Not really, - wouldn't really add anything that would make up for the increased cost to the client and overall, it would just harm my business. An assistant/roadie? For sure...but finding someone with the reliability I would need and never mind the fact that I live out of my caravan/travel trailer for sometimes 1+ weeks peak season, wouldn't work from a personal perspective having someone 24/7. It is of course very much a specific job/market thing and like many others, I make, or have made it work, but yes, ideally, I'd have a small team, but it's just not reality. If only the missus was interested... But then we have a child, 2 dogs and a cat and anything over a single day just gets complicated. Nope, I am resigned to the fact that I am a one man band and hence why I have an ongoing 'project' to finding the most minimal set up that I can. Quite close regarding the latter, but not quite there though I suspect the next gen set up whenever I move to that, 2023 or 2024 latest, will have cracked that as far as it can be cracked. Still working on: A. Number of principle cameras. I need to get it from 4 to 3 and ideally, 3 identical hybrid bodies. B. Size & weight of cameras and lenses. These are not bad, but slightly more than my personal ideal. C. Tracking AF. Horses for courses and all that... These are just my thoughts/opinions/needs 😬

I'm going to be able to play around with one in a few weeks but overall I'm pretty underwhelmed from what I've seen and heard. I know people who absolutely love it, but when really looking at it a lot of the things that I'd want are actually in the GH5II. 4K 120p would be nice, but I don't need it, especially since I've gotten really good results from using Topaz Video Enhance AI to upscale 1080p 120fps. ProRes is nice, but it'd be nice to have ProRes LT because 95% of the time I don't need HQ or even standard ProRes. The better stabilization, low light, audio controls, etc. are all very welcome but again they're not something I NEED. There's really just not a ton of reasons why I'd need to upgrade from the GH5 short of my GH5 dying, but even then I think I'd probably just buy a used GH5 or another used S5 before considering a GH6. That I'd have to rig a GH6 up with an external battery solution doesn't help its case. Maybe the battery life of the GH3, GH4, and GH5 spoiled me, but as an event shooter that likes to work as light as possible, it's a real bummer that the battery life is so poor.

I really wish we'd get consistent information on this. Some insist there's no overheating, while others say it overheats after 45 or so minutes even in air conditioning.

The 25mm doesn't get nearly the love that it deserves. It's affordable, lightweight, and think is very good optically for a lens you can find for $100-120 used.

The SC weighs a bunch less. The S is a handful. https://store.dji.com/guides/ronin-sc-vs-ronin-s-side-by-side-comparison/

Yeah, but you don't have to buy any lenses or ND's, no nothing. And you just pick it up and go. That is what is so nice about camcorders. 15x Optical Zoom lens, DPAF, 10bit 4.2.2, Clog 2 and 3, killer battery life, built in lens hood, XLR's, that is pretty dope.

S1 is dope. Plus the open gate 6k and full sized HDMI. AF was only reason I didn’t pick one up. I’m happy with the Nikon Z6 AF, plus using the Ninja V I still get the 10 bit log goodness.

I'm very disappointed in the update from an anamorphic options viewpoint. One, they refuse to give us the 3.3K 4:3 option in ALL-I (or lower resolution), and none of the anamorphic options are available in ProRes or ProRes HQ. I like my anamorphic footage to have some grit to it. The 3.3K handled that well as it was closer to film resolution. Now it has that pristine anamorphic look I really don't like. The fact that they put anamorphic options in Long GOP still baffles me when they had it perfect on the GH5.

Yes but you are skipping budget, the types of work you are referencing had the budget for it, event work which I do has razor thin margins and the organizers question the ROI on my services probably every year....with a big enough budget anything is possible, for event work the budget simply isn't there so any assistant that I hire would come out of my own profits and because the hourly rate would be low for the assistant you get what you pay for. And yes, I do hire assistants for things like talent management, talent direction, etc for larger modeling shoots but I am still the only shooter. If I had the budget to pay assistants $50/hr+ I am sure I'd have a great team by now....but that's not going to happen in my particular niche of the industry. I don't think it would be much more than $2500USD, it is still a crop sensor, and still has plenty of competition from Sony and Panasonic, and it still has very few actual crop sensor lenses, it also remains to be seen how it performs in general against the competition.

Heck, great image, this guy got out of his GX85! Great montage and camerawork as well. He shot with the native 25mm 1.7 and the pancake zoom 12-32. I heard good things about both lenses.

Y'all left out the part where I said what the patent's definition of "visually lossless" is. It's not an Imatest or anything of the sort. The fact of the matter is, Red RAW is NOT lossless. Again, if it were, you wouldn't have different compression options. Lossless is lossless, there would only be one compression ratio. It is lossy RAW but "lossless" because the average person can't see a difference.

Coming from another professional who has used, Dedicated cams, Canon, Sony, Mini Lf, and BM cam systems. I’ll tell you the FP was definitely aimed at the BMPCC market. Very similar in features and I will agree the auto focus is better. That said, not sure anyone in the cinema field is gonna be using auto focus much anyway. I pull focus for just about everything I use. The fact that the production team of the Halo series ditched the BMPCC for the FP shows what cinematographers are looking for in an on-set POV Cam. It was throwin punches with Arri cams. That is serious. The reason is because it is the only pocket cam that shoots true RAW Cine DNG. I have the FP-L and can attest to the quality. I will say though the RS is there. Not much worse though than other cams out there with no Mech. shutter. It’s expected. One word Gimbal… hehe. I’m happy with my buy. I don’t use it for extreme action though, and don’t get me wrong I love Black Magic, but a camera that can give me CINE DNG, small form factor that you can rig minimalistic for travel and is Full frame… it’s a win for me.